The Envelope

“Parasite” is poised to be South Korea’s first-ever nomination for Best International feature, but it also looks to be competitive for best director, original screenplay and even best picture.

Rave reviews have poured in for the darkly comedic drama about social inequality, with some critics calling it director’s Bong Joon Ho’s masterpiece.

The much-anticipated movie is now out in limited release, and host Mark Olsen (@IndieFocus) talks with film critic Justin Chang (@JustinCChang) and film reporter Jen Yamato. (@jenyamato)

Chang says “Parasite” is one of the best heist movies he has seen in quite some time, and he compares Bong to a conductor masterfully conducting a symphony.

Yamato says the class warfare themes in the film will be recognizable to everyone.

In our new culture news segment, Olsen discusses the official opening of Tyler Perry Studios with reporter Greg Braxton. (@GeBraxton)

And in the “Glenn Whipp Awards Minute,” Whipp (@GlennWhipp) gives the state of the best actor race after the openings of “Joker,” starring Joaquin Phoenix, and “Pain and Glory,” starring Antonio Banderas.

Even before “Joker” opened in theaters, the film sparked debate over its violent content, and a narrative that seemed to track with that of the alienated, white male shooter who’s become our real-life recurring horror story.

An exploration of a familiar comic book character who has scared us for nearly 80 years, this iteration of his creation story is dividing critics over the sympathy it seeks to elicit for the Joker, played by Joaquin Phoenix.

Members of the Times film staff discuss “Joker” and the controversy surrounding it.

Film critic Justin Chang (@JustinCChang) says the film strives to have the sensibility of Christopher Nolan’s “Dark Knight” trilogy, but it’s “nastier” and more “nihilistic and brutal.”

Entertainment columnist Glenn Whipp (@GlennWhipp) calls the movie “a cynical and glib treatment of societal malaise,” and he says it’s neither as edgy nor as nervy as it presents itself.

And film reporter Sonaiya Kelley (@sonaiyak) enjoyed “Joker” but found it “relentlessly dark,” and says that while she watched it, she kept checking the exits because she was afraid someone was going to come in and try to kill members of the audience.

With its premieres at major international film festivals, Warner Bros. is shrewdly positioning “Joker” as more artistically substantial than your average, blockbuster comic book movie, Chang says.

In our new cultural news segment, host Mark Olsen (@IndieFocus) and Kelley discuss how the impeachment inquiry has impacted late-night TV and celebrity culture.

And in the “Glenn Whipp Awards Minute,” Whipp shares his thoughts about Martin Scorsese’s “The Irishman” after seeing it at the New York Film Festival.

Heading into this year’s Emmy Awards, there may have been tension between coronating beloved, long-running series and recognizing impressive, convention-bending newcomers, but in the end voters largely seemed to favor a recent crop of fresh, forward-thinking shows, including “Fleabag.”

That choice may have been because of what fans and critics were saying on social media about the programs they watch, says the Times TV editor Matt Brennan But it could also reflect that in the age of Peak TV with an ecosystem of 500 shows, it’s easier to split the sea of competitors and snap up a nomination — and a win.

The 71st Emmys signaled that the world of TV has changed, with a wide-open landscape that spans multiple platforms, says Times TV Critic Lorraine Ali.

Comedy is having a moment. But, strong limited drama series with cinematic sensibilities — like “Chernobyl” and “When The See Us” — are also real standouts..

Host Mark Olsen talks with Times TV critic Lorraine Ali (@LorraineAli), TV editor Matt Brennan (@thefilmgoer) and TV reporter Yvonne Villareal. (@villareally).

On this week’s episode, “The Reel” is also rolling out a couple of changes. Over the next few months of awards season, Olsen plans to check in with Entertainment Columnist Glenn Whipp (@GlennWhipp) in a segment we’re calling “Glenn Whipp’s Awards Minute.”

We’ll also start each episode off with a conversation on a news item from the world of culture. This week, Olsen and Ali discuss the chatter around “Joker,” and the fear from some people outside Hollywood that the film might inspire violence.

Two films designed for grown-ups hit theaters this weekend.

“Ad Astra,” a space thriller starring Brad Pitt, takes a moody, meditative approach to science fiction.

Director James Gray invests in character development and emotion, and the film is that rare fusion of blockbuster spectacle and thoughtful sensibility, says the Times’ Justin Chang (@JustinCChang).

Chang also tells host Mark Olsen (@IndieFocus) that the plot of “Ad Astra” is “kind of preposterous,” but that’s why he likes it.

Pitt delivers a memorable performance, holding long close-ups as the camera gazes deeply into his eyes — the kind of scrutiny not many actors can pull off.

“Downton Abbey” picks up where the beloved television series left off, with 20 of the regular characters showing up in the theatrical release.

There’s an optimistic, uplifting spirit to the film, and the Times’ Kenneth Turan (@KennethTuran) tells Olsen that “Downton Abbey” offers an escape from the unrelenting news days of 2019. It’s a comforting, far-away world in which problems are solved and everything works out.

In this special bonus episode, a team of Times reporters at the Toronto International Film Festival give the low-down on this year’s crop of films at the festival — both the hits and the misses.

Among the films premiering at this year's festival are “A Beautiful Day in the Neighborhood," starring Tom Hanks as Mister Rogers and Matthew Rhys as a cynical journalist who interviews him; "Knives Out," a whodunit with an all-star cast, including Jamie Lee Curtis, Daniel Craig, Chris Evans and LaKeith Stanfield; and Taika Waititi's "Jojo Rabbit," a satire about a young German boy and his imaginary friend, Adolph Hitler.

Mark Olsen (@IndieFocus), Justin Chang (@JustinCChang), Jen Yamato (@jenyamato), Glenn Whipp (@GlennWhipp) and Amy Kaufman (@AmyKinLA) also discuss films that premiered at the Venice and Telluride Film Festivals, including Noah Baumbach's “Marriage Story,” starring Adam Driver and Scarlett Johansson, and "Uncut Gems," starring Adam Sandler.

Only eight months passed between the green light for “Hustlers” and its release date, but writer-director Lorene Scafaria fought for years to get the project off the ground.

Scafaria said films about women doing “bad things” are always hard to get made, but she found that the stigma associated with sex workers was also being attached to her telling of the real-life story of strippers who turned the tables on their Wall Street clients.

Speaking from the Toronto International Film Festival — where “Hustlers” had its world premiere — she told Mark Olsen that the movie explores what she calls “a broken value system,” where a woman’s worth comes from her beauty and body, and a man is judged for his wealth, power and success.

Starring Jennifer Lopez and Constance Wu, the filmmaker said she drew inspiration from all women who hustle to get by, as well sports-themed films and gangster movies like “Goodfellas.”

Awards season is around the corner and highly anticipated movies are on full blast at film festivals across the world. Mark Olsen (@IndieFocus) talks with Amy Kaufman (@AmyKinLA), Glenn Whipp (@GlennWhipp) and Jen Yamato (@jenyamato) about what to expect from the onslaught of movies premiering across festivals as we head into awards season.

The Venice and Telluride Film Festivals kicked off this fall season, screening major titles like James Gray's “Ad Astra,” Todd Phillips' “Joker,” Steven Soderbergh's “The Laundromat,” and Noah Baumbach's “Marriage Story.” Next, filmmakers turn to Toronto, New York and London, ending the wave of key festivals sure to shape the fate of awards season.It’s the moment of truth for filmmakers who eagerly await reactions from critics and audiences. The post-festival rhetoric often forecasts which movies may receive awards season love, or which films leave audiences wanting more.

The Jennifer Lopez and Constance Wu stripper drama, “Hustlers,” has audiences talking. There’s also Martin Scorsese’s “Irishman,” a three-and-a-half-hour-long crime drama starring Robert De Niro, Joe Pesci and Al Pacino.Last year, movies like “Roma,” “A Star is Born” and “Green Book” left festivals feeling like top Academy Award candidates. We’ll see if the same proves true after this year’s fall festival season wraps up.

Set during World War II and the internment of Japanese Americans, AMC’s “The Terror” weds that real-life horror story with a tale of the supernatural.

But showrunner Alex Woo says the second season of the anthology series, titled “Infamy,” is not just a period piece. Instead, it uses the horror genre to bring a story from the past into the present to represent the fear and terror of American citizens betrayed by their own government.

“Infamy” was intentionally cast with actors of Japanese descent, so the show is very personal for many of the people working on it, including star Derek Mio, who plays Chester Nakayama, a second-generation Nisei, or American-born Japanese. Mio’s grandfather’s family lived in the same Japanese American community portrayed in the show, the one that once existed on Terminal Island in San Pedro. Its residents were forced into internment camps after the attack on Pearl Harbor.

The show also features George Takei, who was interned along with his family when he was 5 years old. Writers, directors and crew members also bring their personal and family experiences with the incarceration.

Mark Olsen (@IndieFocus) talks with Mio ( @derekzmio) Woo (@thealexwoo) and Times film writer Jen Yamato (@jenyamato).

While Netflix’s “Mindhunter” is based in a time when serial killers were shocking and terrifying Americans, the second season of David Fincher’s true-crime drama feels especially topical and relevant for our time.

With a primary focus on the Atlanta child murders — a series of killings, mostly of black children in and around the city between 1979 and 1981 — the show examines disturbingly contemporary topics like distrust of police, embedded racism and white supremacist violence.

It also addresses questions of which crimes get investigated and which victims garner wide public sympathy.

The real-life Atlanta case was recently reopened because of continuing questions over whether the crimes were ever truly solved. While Wayne Williams was convicted of killing two adults —and is serving life in prison — he was never tried in the child homicides because of a lack of evidence.

“Mindhunter” also features portrayals of some of the most infamous serial killers in American history, including Charles Manson and David “Son of Sam” Berkowitz.

Mark Olsen (@IndieFocus) talks with Lorraine Ali (@LorraineAli) and Matt Brennan (@thefilmgoer).

From the very first line of dialogue, Craig Mazin makes clear that “Chernobyl” is far more than a dramatization of the 1986 nuclear meltdown in the USSR.

Mazin, the creator and writer of the HBO miniseries, tells a story of the “cost of lies” and the real-life dangers that result from a culture disconnected from the truth. The Soviet system was built on propaganda and misinformation, and the heroes of the nuclear disaster are the people who sought the truth and stuck to the facts — even at great personal cost.

As he developed the story in 2016, Mazin saw parallels in American politics, with whole segments of the public growing untethered from the truth.

The five-part series resonated with viewers, and has drawn the largest audience for an HBO miniseries since “Band of Brothers.” It’s been nominated for 19 Emmys.

Mark Olsen (@IndieFocus) talks with Mazin (@clmazin) about how the medium of episodic television gave him the space to tell a mystery — as well as a story of a culture, a system of government, and the nature of love.